Greek Tragedies are still commonly performed on contemporary French stages. This undoubtedly indicates the significance of theses plays. Several themes of mise en scene are possible: comparing the ideologies from ancient times to the ones at the present day, rethinking the origin of the genre “theatre,” and performing a newly translated text on the stage, etc.
This thesis, which can be divided into four parts, is an analysis of mise en scene of Oliver Py’s Oresteia in 2008. It begins with my analysis of the scenography. The theatrical devices, the color red and the constant dripping water both carry symbolic meanings. In the second part, the acting techniques and the character arrangements will be discussed, which helps the understanding of the conflict between men and women in the tragedy. Subsequently, by analyzing the stage properties, the mirror and the sword, we can argue that the shift from self-awareness to civic consciousness and the concept of justice form the basis of democracy. Furthermore, later the secular values accord with the sacred tenets, developing into a state of cosmos.
Olivier Py’ new translation is suitable for acting with its shortened scripts and plain meaning. Thus, it is also more auditable for the audience while watching. This time, the chorus sing in Greek with quartet’s accompanient, creating an effect like an opera. To conclude, Olivier Py not only directs Oresteia but also all the other plays from Aeschylus. Olivier Py surely makes the language and the form of performing Greek Tragedy more vivid.